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YIVO digitizes writer Chaim Grade’s archive, a Yiddish treasure with a soap opera backstory
(JTA) — Years ago, when I worked at the Forward, I had a cameo in a real-life Yiddish drama.
A cub reporter named Max Gross sat just outside my office, where he answered the phones. A frequent caller was Inna Grade, the widow of the Yiddish writer Chaim Grade and a fierce guardian of his literary legacy. Mrs. Grade would badger poor Max in dozens of phone calls, especially when a Forward story referred kindly to the Nobel laureate Isaac Bashevis Singer. Grade’s widow described Singer as a “blasphemous buffoon” whose fame and reputation, she was convinced, came at the expense of her husband’s.
As Max explains in his 2008 memoir, “From Schlub to Stud,” Mrs. Grade “became a bit of a joke around the paper.” And yet in Yiddish literary circles, her protectiveness of one of the 20th century’s most important Yiddish writers was serious business: Because Inna Grade kept such a tight hold on her late husband’s papers — Chaim Grade (pronounced “Grah-deh”) died in 1982 — a generation of scholars was thwarted in taking his true measure.
Inna Grade died in 2010, leaving no signed will or survivors, and the contents of her cluttered Bronx apartment became the property of the borough’s public administrator. In 2013, Chaim Grade’s personal papers, 20,000-volume library, literary manuscripts and publication rights were awarded to the YIVO Institute for Jewish Research and the National Library of Israel. They are now stored in YIVO headquarters on Manhattan’s W. 16th Street.
This week YIVO and the NLI will announce the completion of the digitization of “The Papers of Chaim Grade and Inna Hecker Grade,” making the entire archive publicly accessible online. When the folks at YIVO invited me to come and look at the Grade collection, I knew I had to invite Max, not just because of his connection to Inna Grade but because he has become a critically acclaimed novelist in his own right: His 2020 novel “The Lost Shtetl,” which imagines a Jewish village in Poland that has somehow escaped the Holocaust, is in many ways an homage to the Yiddish literary tradition.
We met on Thursday with the YIVO staff, who were tickled by the T-shirt Max was wearing, which had a picture of Chaim Grade and the phrase “Grade is my homeboy.” (Max said his wife bought it for him, although neither could imagine the market for such a shirt.)
Stefanie Halpern, director of the YIVO archives, and novelist Max Gross discuss a thick file containing news clippings relating to the late Yiddish novelist Chaim Grade at YIVO’s Manhattan offices, Feb. 2, 2023. (New York Jewish Week)
The Grade papers — manuscripts, photographs, correspondence, lectures, speeches, essays — are stored in folders in gray boxes, whose neatness belies the years of effort that went into putting them in order. Jonathan Brent, executive director and CEO of YIVO, described for us the Grades’ apartment, which he visited shortly after Inna’s death.
“It was like a combination of my grandmother’s apartment and a writer’s home,” he said. “Everything was books, books to the ceiling. You open a drawer in the kitchen where you think there’ll be knives and forks, there are books, there are manuscripts. You open the cabinet in the bathroom, there are more manuscripts and books and books…. But the thing I remember most is that at the top of a shelf there was that much dust.” He held his fingers about two inches apart.
Inna Grade was Chaim Grade’s second wife. The writer was born in Vilna (now in Lithuania) in 1910. He was able to flee east during the Nazi occupation, leaving behind his mother and his first wife under the assumption that the Germans would only target adult men. It was a tragic miscalculation, and their deaths would haunt Grade the rest of his life. Inna Hecker was born in Ukraine in 1925, and met Grade in Moscow during the war. Married in 1945, they immigrated to the United States in 1948.
Chaim Grade had already established a reputation as a poet, playwright and prose stylist before the war; English translations of his novels “The Agunah” and “The Yeshiva” and serial publication of his novels in the Yiddish press brought him recognition in America for what the Yiddish scholar Ruth Wisse calls a “Dostoyevskian talent to animate in fiction the destroyed Talmudic civilization of Europe.” Columbia University professor Jeremy Dauber, in a YIVO release, says that Grade was possessed “by the spirit of the yeshiva world he’d left behind; then possessed by the spirits and memories of those who’d been murdered by the Nazis.”
Stefanie Halpern, director of the YIVO archives, showed us the physical evidence of that possession: Grade’s notebooks, in which he wrote down ideas and inspiration in a careful Yiddish script; manuscripts for at least two unpublished dramatic works, “The Dead Can’t Rise Up” and “Hurban” (“Sacrifice”); a photograph of Grade standing amidst the ruins of Vilna during his only visit after the war; pictures of the Bronx apartment taken when the couple was still alive, book-filled but still tidy.
Halpern also showed us the Yiddish typewriter recovered from the apartment, with what is believed to be the last page he worked on still rolled in its platen.
Chaim Grade’s typewriter, preserved in the condition it was found when the Yiddish author died in 1982, contains what are apparently the last lines he ever wrote. (New York Jewish Week)
The archivists are also careful to give Inna her due. After arriving in America she studied literature and received a master’s degree from Columbia, and often translated her husband’s work. Thanks to her, hundreds of clippings of Grade’s work and articles about him have survived.
Her correspondence reflects the lengths she went to protect her husband’s legacy during and after his lifetime, including a bizarre and lengthy letter to the Vatican complaining about Singer. “She was a brilliant and creative person, devoted in a way only a widow can be,” said Brent. “And perhaps devoted to a maddening extent.”
If all that sounds like the stuff of Jewish fiction, it is: In 1969, Cynthia Ozick wrote a novella called “Envy; or, Yiddish in America,” about Yiddish writers very much like Grade consumed with envy for a writer very much like Singer. “They hated him for the amazing thing that had happened to him — his fame — but this they never referred to,” wrote Ozick. “Instead they discussed his style: his Yiddish was impure, his sentences lacked grace and sweep, his paragraph transitions were amateur, vile.”
Halpern showed us a mailgram from Inna to the Forward that makes it clear that she and her husband read and hated the story. In it she describes Ozick as “no less grotesque than evil.”
For all of the gothic Yiddish aspects of its retrieval, “this is probably the single most important literary acquisition in YIVO’s postwar history,” Brent said of the archive. He described publishing projects already underway with Schocken Books and other publishers that will draw on the material.
Max and I discussed what it felt like to see what had become “a bit of a joke” around the Forward office placed at the center of an epic exercise in literary preservation. Max was struck by the way Inna’s personality came through in the papers. “This was her,” he said. “Her obsession, her struggle, all these things. It was definitely remarkable to see that.”
I recalled overhearing his conversations with Inna, and how her behavior could seem funny and exasperating, but also admirable and more than a little sad — in that her devotion to her husband’s reputation may also have prevented scholars from doing the work that would have made him better known.
“Exactly, but that’s one of the reasons why you get into Yiddish literature, because all of these things are true at the same time,” said Max. “Those kinds of scores, rivalries, feuds within Yiddish literature is what is so great about it. It is great to see that somebody really cared and that literature was taken so seriously. And the pettiness was something you couldn’t quite divest from the rest of it.”
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Can Manischewitz make matzo ball soup hot again?
Last weekend, I was walking through Lower Manhattan, when I strolled past something confusing. Several women in matching baby blue leggings and puffer coats were dancing to pop music in a small park outside the Soho Apple store, surrounded by ice blocks with something — it was hard to tell what — frozen inside them. As I got closer, I realized that they were handing out some kind of greens-boosted energy drink. The set-up was a made-for-Instagram PR stunt.
The whole point of the event seemed to be to cultivate a cool Manhattanite sheen for the brand. People were taking cans of the beverage, because why not — it was free! No one, however, was hanging out and dancing with the paid promoters, who were dancing conspicuously alone. The drink, which was gross, piled up in nearby municipal trashcans. The whole thing left a sour taste in my mouth, and not just from the fake sweetener in the beverage. Do these stunts sell energy drinks? Do they sell anything at all?
These questions were front of mind when I showed up at an art exhibit at a gallery on the Lower East Side. The art show was called SOUP, and it was hosted by Manischewitz to mark the launch of, yes, a line of jarred soups.
When I walked in, there was a solid crowd mingling in the gallery. Photos from Manischewitz’s newest ad campaign from Ohad Romano — a delightfully campy set of family photos featuring, of course, jars of soup — hung on one wall, opposite the soup-free work of two other Jewish artists, psychedelic scenes by Dan Weinstein and colorful objects from Rosemarie Gleiser.
Orange-aproned waiters passed around teacups full of soup and a bartender made gin and tonics featuring Cel-Ray and spritzes with Manischewitz wine. (The wine is owned by a different company than the food products, so was unrelated to the event.) There was a line in the back room to get Manischewitz-themed patches sewn onto Manischewitz-branded hats. A baby on a woman’s hip giggled. A man in a sharp suit, cravat and kippah laughed with a group of friends as they all sipped chicken soup with matzo ball floaters.
But what did any of it have to do with actually selling soup?
Talia Sabag, a marketing manager at Manischewitz, told me that the art show was part of the rebrand that the company has been rolling out over the past few years. Their boxes of matzo went from a bookish off-white to a bright orange, with scribbled illustrations of little figures carrying bowls of soup across the box that look like they should have walked out of the Jewish Almanac. The company told The New York Times, in 2024, that the rebranding effort was to refresh the brand, but also to target a new base of “culturally curious” consumers. In short, they wanted to sell kosher products to everyone, not just Jews.
Nearly everyone at the art show’s opening, however, seemed to be Jewish. More relevantly, the show was only planned to be up for six days.
While I sipped my teacup of soup, I asked Sabag what the show was meant to achieve for the brand. At first, she stuck to the message, arguing that the show was exactly what it said it was: an art show about soup.
“We want to celebrate the interwoven ways cuisine plays a role in communicating Jewish culture to ourselves and to the world,” she said with a bright smile, all symbolized by “the warmth of soup!”
Eventually, though, we got down to it: “A lot of studies do show that Gen Z does buy products based on that coolness factor,” Sabag told me. (She mentioned Nutter Butter as an example; the cookie started posting surreal, apocalyptic memes and saw their sales spike as a result.) In the words of the Gen Z buyers the brand is trying to attract, the art show is aura farming.
But is it possible to make Manischewitz cool? The brand is so iconic, so central to American Judaism, that it almost feels like asking whether it’s possible to make Judaism itself cool. Whether or not Judaism needs help in that arena is an open question, but plenty of people and brands have been trying to boost its coolness factor, whether it’s handbag designer Susan Alexandra’s glitzy launch party for her line of Judaica or the transgressive Bushwick burlesque show, Sinner’s Shabbat.
“We want to open up the conversation to the younger generations of course,” Sabag said. “But we’re not neglecting our core audience: our bubbes.” That means balancing nostalgia and hipness.
It’s almost impossible to purposefully construct coolness; by its nature, it resists trying. Usually, trying to be cool can only backfire, like the event with the energy drink dancers.
But I have to admit: The art show was kind of cool. It nailed its aesthetic, embracing the absurdity and surrealism of a moment in which a historic, grandmotherly brand like Manischewitz would be running an aura farming event, tonally a perfect fit for an irony-pilled era. Yet it also took itself seriously in the right ways; it was, ultimately, an actual art show with Jewish artists’ work in a neighborhood with deep Jewish roots, serving historic Jewish food. It felt genuine and rooted even as it was irreverent. Every detail was thoughtful. The drinks were actually good. The soup was exactly the same as ever.
The truth is, Manischewitz’s rebrand is cool because Manischewitz has always been cool. So has Judaism.
The post Can Manischewitz make matzo ball soup hot again? appeared first on The Forward.
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Thousands Protest Over Israeli President Herzog’s Visit to Australia in Wake of Bondi Massacre
Demonstrators gather at Town Hall Square to protest against Israeli President Isaac Herzog’s state visit to Australia following a deadly mass shooting during a Jewish Hanukkah celebration at Bondi Beach on Dec. 14, 2025, in Sydney, Australia, Feb. 9, 2026. Photo: REUTERS/Jeremy Piper
Thousands gathered across Australia on Monday to protest over the arrival of Israeli President Isaac Herzog, who is on a multi-city trip aimed at expressing solidarity with Australia‘s Jewish community following a deadly mass shooting last year.
Herzog is visiting Australia this week following an invitation from Australian Prime Minister Anthony Albanese in the aftermath of the Dec. 14 shooting at a Hanukkah event at Sydney’s Bondi Beach that killed 15.
The visit has attracted the ire of some people in Australia, who accuse Herzog of being complicit in civilian deaths in Gaza. Anti-Israel groups have organized protests in cities and towns across the country on Monday evening.
In Sydney, thousands gathered in a square in the city’s central business district, listening to speeches and shouting pro-Palestinian slogans.
“The Bondi massacre was terrible but from our Australian leadership there’s been no acknowledgment of the Palestinian people and the Gazans,” said Jackson Elliott, a 30-year-old protestor from Sydney.
“Herzog has dodged all the questions about the occupation and says this visit is about Australia and Israeli relations but he is complicit.”
There was a heavy police presence with a helicopter circling overhead and officers patrolling on horseback.
Police used pepper spray and tear gas to push back groups of people who were trying to breach the line and march ahead. Several protesters were arrested as they clashed with police.
Authorities in Sydney declared Herzog’s visit a major event and were authorized to use rarely invoked powers during the visit, including the ability to separate and move crowds, restrict their entry to certain areas, direct people to leave, and search vehicles.
On Monday in a Sydney court, the Palestine Action Group – which organized the protest – failed to legally challenge the restrictions on the demonstration.
PRESIDENT COMMEMORATES LIVES LOST
Meanwhile, thousands of Jewish community members, government officials, and opposition party politicians welcomed Herzog at an event, more than a kilometer away from the protests, honoring the victims of the Bondi attack.
“We all remember the boycotts, the threats, the colleagues who turned their backs on their Jewish friends … that was the prelude to Bondi,” he told a large crowd at Sydney’s International Convention Centre, according to an ABC News report.
Herzog began his visit earlier on Monday at Bondi Beach, where he laid a wreath at a memorial for the victims of the attack. He also met survivors and the families of 15 people killed in the shooting.
“This was also an attack on all Australians. They attacked the values that our democracies treasure, the sanctity of human life, the freedom of religion, tolerance, dignity, and respect,” Herzog said in remarks at the site.
In a statement, the Executive Council of Australian Jewry Co-Chief Executive Alex Ryvchin said Herzog’s visit “will lift the spirits of a pained community.”
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Saudi Arabia Wealth Fund Set to Announce Strategy Revamp, Sources Say
A billboard at the site of New Murabba shows The Mukaab, in Riyadh, Saudi Arabia, Jan. 26, 2026. Photo: REUTERS/Mohammed Benmansour
Saudi Arabia‘s $925 billion Public Investment Fund (PIF) plans to announce a new five-year strategy this week, two people with direct knowledge of the matter said, in the biggest reset yet of Crown Prince Mohammed bin Salman’s economic transformation plan.
The Saudi sovereign wealth fund soft-launched its new 2026-2030 strategy with key investors and strategic partners on Monday on the sidelines of a conference in Riyadh, the two people and another familiar with the matter told Reuters.
The new blueprint will emphasize sectors including industry, minerals, artificial intelligence, and tourism, while scaling back and in some cases reconfiguring expensive mega projects such as The Line, a futuristic mirrored city, the sources said.
All three sources declined to be named because they were not authorized to speak publicly about the matter.
One said the new roadmap will place greater emphasis on attracting capital from major global asset managers, reflecting mounting fiscal pressures as oil prices remain well below levels needed to fund the kingdom’s ambitious transformation agenda.
The shift marks the most significant recalibration to date of bin Salman’s Vision 2030, which for nearly a decade has prominently featured mega futuristic developments. The kingdom is currently reviewing several of the mega projects.
Many of these, including The Line, which extends 170 km (106 miles) into the desert, and the planned Trojena winter sports hub, have faced delays and ballooning costs. The latest to be suspended was a cube-shaped skyscraper in Riyadh.
Last month, Saudi Economy Minister Faisal al-Ibrahim told Reuters: “We’re very transparent. We’re not going to shy away from saying we had to shift this project, delay it, re-scope it,” without mentioning specific projects.
Under the new strategy, NEOM will shift away from its earlier emphasis on tourism and futuristic urban design toward renewable energy and industrial development, including green hydrogen, solar and wind projects, and data centers that benefit from their proximity to the sea for cooling, the people said.
The Line was not on display in the venue at Monday’s opening day of the private sector forum, while NEOM’s video displays underscored the new direction, focusing on energy and industrial initiatives rather than the high‑profile real estate and tourism concepts once billed as being at its core.
PIF’s updated focus echoes details previously reported by Reuters, including a broader shift toward logistics, mining, and advanced manufacturing, as well as clean energy and religious tourism.